Atwood is also the inventor, and developer, of the LongPen and associated technologies that facilitate the remote robotic writing of documents.[5] She is the Co-Founder and a Director of Syngrafii Inc. (formerly Unotchit Inc.), a company that she started in 2004 to develop, produce and distribute the LongPen technology.[6] She holds various patents related to the LongPen technologies.[7]

While she is best known for her work as a novelist, she has also published fifteen books of poetry.[8][9] Many of her poems have been inspired by myths and fairy tales, which have been interests of hers from an early age.[10] Atwood has published short stories in Tamarack Review, Alphabet, Harper's, CBC Anthology, Ms., Saturday Night, and many other magazines. She has also published four collections of stories and three collections of unclassifiable short prose works.

Atwood, who was surrounded by the intellectual dialogue of the female faculty members at Victoria College, often portrays female characters dominated by patriarchy in her novels. She also sheds light on women's social oppression as results from patriarchal ideology.[17] Still, Atwood denies that The Edible Woman, for example, published in 1969 and coinciding with the early second wave of the feminist movement, is feminist and claims that she wrote it four years before the movement. Atwood believes that the feminist label can only be applied to writers who consciously work within the framework of the feminist movement.[18]

Atwood has resisted the suggestion that The Handmaid's Tale and Oryx and Crake are science fiction, suggesting to The Guardian in 2003 that they are speculative fiction instead: "Science fiction has monsters and spaceships; speculative fiction could really happen."[19] She told the Book of the Month Club: "Oryx and Crake is a speculative fiction, not a science fiction proper. It contains no intergalactic space travel, no teleportation, no Martians."[20] On BBC Breakfast, she explained that science fiction, as opposed to what she herself wrote, was "talking squids in outer space." The latter phrase particularly rankled advocates of science fiction and frequently recurs when her writing is discussed.[20]

In 2005, Atwood said that she does at times write social science fiction and that Handmaid's Tale and Oryx and Crake can be designated as such. She clarified her meaning on the difference between speculative and science fiction, admitting that others use the terms interchangeably: "For me, the science fiction label belongs on books with things in them that we can't yet do.... speculative fiction means a work that employs the means already to hand and that takes place on Planet Earth." She said that science fiction narratives give a writer the ability to explore themes in ways that realistic fiction cannot.[21]

In early 2004, while on the paperback tour in Denver for her novel Oryx and Crake, Atwood conceived the concept of a remote robotic writing technology, the LongPen, that would enable a person to remotely write in ink anywhere in the world via tablet PC and the Internet, thus allowing her to conduct her book tours without being physically present. She quickly founded a company, Unotchit Inc., to develop, produce and distribute this technology. By 2011, Unotchit Inc. shifted its market focus into business and legal transactions and was producing a range of products, for a variety of remote writing applications, based on the LongPen technologies and renamed itself to Syngrafii Inc. As of September 2014, Atwood is still Co-founder and a Director of Syngrafii Inc. and holder of various patents related to the LongPen technology.[5][6][7][22][23][24]

In 2008, The Economist called her a "scintillating wordsmith" and an "expert literary critic", but commented that her logic does not match her prose in Payback: Debt and the Shadow Side of Wealth,[27] a book which commences with the conception of debt and its kinship with justice. Atwood claims that this concept is ingrained in the human psyche, that it is apparent in early historical peoples, who associated their understanding of debt with that of justice, ideas that are typically exemplified by a female deity. Atwood holds that, with the rise of Ancient Greece, and especially the installation of the court system detailed in Aeschylus' Oresteia, this deity has been replaced by a more thorough conception of debt.

Atwood’s contributions to the theorizing of Canadian identity have garnered attention both in Canada and internationally. Her principal work of literary criticism, Survival: A Thematic Guide to Canadian Literature, is considered outdated in Canada but remains the standard introduction to Canadian literature in Canadian Studies programs internationally.[30]

In Survival, Atwood postulates that Canadian literature, and by extension Canadian identity, is characterized by the symbol of survival.[31] This symbol is expressed in the omnipresent use of “victim positions” in Canadian literature. These positions represent a scale of self-consciousness and self-actualization for the victim in the “victor/victim” relationship.[32] The "victor" in these scenarios may be other humans, nature, the wilderness or other external and internal factors which oppress the victim.[32] Atwood’s Survival bears the influence of Northrop Frye’s theory of garrison mentality; Atwood instrumentalizes Frye’s concept to a critical tool.[33] Atwood continued her exploration of the implications of Canadian literary themes for Canadian identity in lectures such as Strange Things: The Malevolent North in Canadian Literature (1995).

Ultimately, according to her theories in works such as Survival and her exploration of similar themes in her fiction, Atwood considers Canadian literature as the expression of Canadian identity. According to this literature, Canadian identity has been defined by a fear of nature, by settler history, and by unquestioned adherence to the community.[citation needed]

Margaret Atwood has repeatedly made observations about our relationships to animals in her works. In Surfacing, one character remarks about eating animals: "The animals die that we may live, they are substitute people...And we eat them, out of cans or otherwise; we are eaters of death, dead Christ-flesh resurrecting inside us, granting us life." Some characters in her books link sexual oppression to meat-eating and consequently give up meat-eating. In The Edible Woman, Atwood's character Marian identifies with hunted animals and cries after hearing her fiancé's experience of hunting and eviscerating a rabbit. Marian stops eating meat but then later returns to it.[35]

In Cat's Eye, the narrator recognizes the similarity between a turkey and a baby. She looks at "the turkey, which resembles a trussed, headless baby. It has thrown off its disguise as a meal and has revealed itself to me for what it is, a large dead bird." In Atwood's Surfacing, a dead heron represents purposeless killing and prompts thoughts about other senseless deaths.[35]

In her dystopian novel, The Handmaid's Tale, all the horrible developments take place in the United States near Boston, while Canada is portrayed as the only hope for an escape. This reflects her status of being "in the vanguard of Canadian anti-Americanism of the 1960s and 1970s."[36] Critics have seen Gilead (the US) as a repressive regime and the mistreated Handmaid as Canada.[37] During the debate in 1987 over a free trade agreement between Canada and the United States, Atwood spoke out against the deal, and wrote an essay opposing the agreement.[38]

Although Atwood's politics are described as being left-wing by those on the right, she has indicated in interviews that she considers herself a Red Tory in the historical sense of the term.[39] Atwood and her partner Graeme Gibson are strong supporters of Green Party of Canada leader Elizabeth May. Atwood has strong views on environmental issues, and she and her partner are the joint honorary presidents of the Rare Bird Club within BirdLife International. She has been chair of the Writers' Union of Canada and president of PEN Canada, and is currently a vice-president of PEN International. In the 2008 federal election, she attended a rally for the Bloc Québécois, a Quebec separatist party, because of her support for their position on the arts, and stated that she would vote for the party if she lived in a riding in Quebec in which the choice was between the Bloc and the Conservatives.[40] In a Globe and Mail editorial, she urged Canadians to vote for any other party to stop a Conservative majority.[41]

Atwood celebrated her 70th birthday at a gala dinner at Laurentian University in Sudbury, Ontario, marking the final stop of her international tour to promote The Year of the Flood. She stated that she had chosen to attend the event because the city has been home to one of Canada's most ambitious environmental reclamation programs: "When people ask if there's hope (for the environment), I say, if Sudbury can do it, so can you. Having been a symbol of desolation, it's become a symbol of hope."[42]

In the Wake of the Flood, a documentary film by Canadian director Ron Mann released in October 2010, followed Atwood on the unusual book tour for her novel The Year of the Flood. During this innovative book tour, Atwood created a theatrical version of her novel, with performers borrowed from the local areas she was visiting. The documentary is described as "a fly-on-the-wall film vérité."[45]

Since February 2013, Atwood made it clear via Twitter that she strongly opposed the University of Toronto putting in an artificial turf field and hinted that she might write the university out of her will if it proceeded with the plan. This was not the first time she had openly challenged the university.[46]

With her novel Scribbler Moon, Atwood is the first contributor to the Future Library project. The work, completed in 2015, was ceremoniously handed over to the project on 27 May of the same year. The book will be held by the project until its eventual publishing in 2114. She thinks that readers will probably need a paleo-anthropologist to translate some parts of her story.[47] In an interview with the Guardian newspaper, Atwood said, “There’s something magical about it,” says Atwood. “It’s like Sleeping Beauty. The texts are going to slumber for 100 years and then they’ll wake up, come to life again. It’s a fairytale length of time. She slept for 100 years.”[48]

In 1968, Atwood married Jim Polk; they were divorced in 1973.[49] She formed a relationship with fellow novelist Graeme Gibson soon after and moved to a farm near Alliston, Ontario, north of Toronto, where their daughter Eleanor Jess Atwood Gibson was born in 1976.[19] The family returned to Toronto in 1980.[50]

^Howells, Coral Ann (2006). John Moss; Tobi Kozakewich, eds. "Writing History from The Journals of Susanna Moodie to The Blind Assassin" in Margaret Atwood: The Open Eye. Ottawa: University of Ottawa Press. p. 111.